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*This Week [June 17 - 25, 2023] in Avant Garde Cinema* To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . *DEADLINES APPROACHING* **** Enter upcoming calls for entry here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=62a2d5d8c8&e=857b71a9cb> **** ___________________________________________________________________________________ *sorted by submission deadline* Ongoing Films for Ukrainian Border Crossings <[email protected]?subdir=calls&filename=2.ann&accepts=yes%0a?subdir=calls&filename=2.ann&accepts=yes%20?subdir=calls&filename=2.ann&accepts=yes> (No Dialogue + PG) 06.21.2023 Istanbul International Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=37cf306833&e=857b71a9cb> (8th Deadline) 06.23.2023 Edinburgh Short Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=018db21ae9&e=857b71a9cb> (Late Deadline) 06.30.2023 WNDX Festival of Moving Image <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=45c7fe8844&e=857b71a9cb> 06.30.2023 ANALOGICA <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=31c9e0f3e9&e=857b71a9cb> (Extended Deadline) 06.30.2023 Celluloid Now <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eff4556995&e=857b71a9cb> 06.30.2023 Antimatter [media art] <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cae932ce87&e=857b71a9cb> (Regular Deadline) 06.30.2023 Ji.hlava International Documentary Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=14178177b3&e=857b71a9cb> (rough cuts + pre world premiere) 06.30.2023 ULTRAcinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=321505e20c&e=857b71a9cb> (Regular Deadline) 07.01.2023 Small File Media Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d1a0d76906&e=857b71a9cb> 07.07.2023 Buffalo Int’l Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=cf2635ea1b&e=857b71a9cb> (Extended Deadline) 07.10.2023 Affective Intermediality International Conference <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4de21f58d5&e=857b71a9cb> 09.01.2023 Cauldron International Film and Video Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=86e596ac0a&e=857b71a9cb> (Early Deadline) 09.06.2023 Punto de Vista <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9640785284&e=857b71a9cb> *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=80bfc8b031&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - Refresh <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3eef503384&e=857b71a9cb> [March 2022 - Spring 2023, Denver, CO] - EC: Hollis Frampton <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0ac78a3477&e=857b71a9cb> [June 18, New York, NY] - EC: Franju / Genet <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c33c41701e&e=857b71a9cb> [June 18, New York, NY] - Maya Deren: Choreographed For Camera <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e8e026c962&e=857b71a9cb> [June 18, San Francisco, CA] - Edge of Presence With Hiroko Komiya And Chris H. Lynn <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f0ac07af5a&e=857b71a9cb> [June 19, Warsaw, Poland] - EC: Ernie Gehr <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d1f7fbb413&e=857b71a9cb> [June 19, New York, NY] - VISIONS: Aaron Zeghers <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8192fea3b1&e=857b71a9cb> [June 21, Montreal, QC, Canada] - EC: Eggeling / Grant / Jacobs & Fleischner <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ab773445eb&e=857b71a9cb> [June 21, New York, NY] - Urban Landscapes <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7f590146d7&e=857b71a9cb> [June 21, San Francisco, CA] - EC: Jerome Hill <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eff21b9938&e=857b71a9cb> [June 22, New York, NY] - EC: Hugo / Jacobs / Levitt / Maas <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=4142f25dcd&e=857b71a9cb> [June 22, New York, NY] - EC: Tom, Tom, The Piper's Son <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d4f3644ba9&e=857b71a9cb> [June 23, New York, NY] - EC: Lawrence Jordan <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d0311b8470&e=857b71a9cb> [June 24, New York, NY] - Fracto Get-Together <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=82a223d287&e=857b71a9cb> [June 24, Berlin, Germany] - Our, Us, Enough: Films On Labor, Love And Intimacy <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b3289baef1&e=857b71a9cb> [June 24, Seattle, WA] - The Long Conversation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d94473d6d8&e=857b71a9cb> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d05e51008a&e=857b71a9cb> [ongoing, online] *STARTING BEFORE JUNE 17, 2023* *March 2022 - Spring 2023* Venue type: *Live, physical event* Denver Museum of Nature & Science <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fdf9ceab65&e=857b71a9cb> open during Museum hours, The Summit Stage and Expedition Health, Denver Museum of Nature & Science, 2001 Colorado Blvd, Denver, CO *REFRESH: *CYANOBACTERIA OFFER PERSPECTIVE ON OURSELVES This art-science collaboration looks at the microscopic ways cyanobacteria move, on an individual level and in colonies. If we study these organisms and their varied forms, we might discover ways to improve our future. On display at the Denver Museum of Nature & Science in the Summit Stage and Expedition Health, March 2022 - Fall 2022 The cells in your body take in oxygen and sweep out waste products like carbon dioxide (CO2). Microscopic cyanobacteria use photosynthesis to work in reverse, breathing in CO2 and pumping out oxygen. Three billion years ago, cyanobacteria created Earth’s oxygenfilled atmosphere, supporting the evolution of creatures like us. Today, they provide one-quarter of the planet’s oxygen, and cyanobacteria like spirulina provide us with food. Researchers believe that cyanobacteria —which need only sunlight, CO2, and water to thrive— could offer solutions to our changing climate. They might help reduce CO2 on a grand scale, contribute to biofuel production, and support long-term space travel. This diverse group of organisms offers a symbolic warning as well: when colonies of cyanobacteria become too dense or stressed, they can run out of nutrients or be destroyed by their own air pollution. Made with the collaborative efforts of filmmaker Erin Espelie and the Jeffrey Cameron Laboratory at the University of Colorado Boulder, which created a customized microscope system specifically tailored for long-term growth and quantitative imaging of cyanobacterial cells; with special thanks to microbiologist and cinematographer Evan Johnson and artists Nima Bahrehmand, Travis Austin, Will Alstetter, as well as NEST Studio for the Arts. *SUNDAY, JUNE 18, 2023* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6e4624087c&e=857b71a9cb> 5pm ET, 32 Second Avenue, New York, NY *EC: HOLLIS FRAMPTON* *ZORNS LEMMA* (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) “A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don’t understand it the first time you see it, don’t despair, see it again! When you finally ‘get it,’ a small light, possibly a candle, will light itself inside your forehead.” –Ernie Gehr *HAPAX LEGOMENA I: (nostalgia)* (1971, 36 min, 16mm. Preserved by Anthology Film Archives, MoMA, and the NYU Moving Image Archiving and Preservation Program, with funding from the National Film Preservation Foundation.) “In *(nostalgia)* the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton’s films.” –P. Adams Sitney Total running time: ca. 100 min *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1cae284d30&e=857b71a9cb> 7:30pm ET, 32 Second Avenue, New York, NY *EC: FRANJU / GENET* Georges Franju *BLOOD OF THE BEASTS / LE SANG DES BÊTES* 1949, 20 min, 16mm. In French with English subtitles. “This documentary on the slaughterhouses of Paris is one of the great masterpieces of the subversive cinema; here, for once, we are face to face with death, and are neither protected nor cheated. […] A dream-like quality permeates the intense realism of the images; a surrealist intent – akin to Buñuel’s slitting of the eyeball in *UN CHIEN ANDALOU* – is discernible in this anti-bourgeois film. But the eyeball, however shocking, was fictional; *BLOOD OF THE BEASTS* is real.” –Amos Vogel, FILM AS A SUBVERSIVE ART Jean Genet *UN CHANT D’AMOUR* 1950, 26 min, 16mm, silent. Brand-new 35mm print by Anthology! “Genet’s only film – hounded by the censors, unavailable, secret – is an early and remarkably moving attempt to portray homosexual passions. Already a classic, it succeeds as perhaps no other film to intimate the explosive power of frustrated sex…. Like all Genet’s early work, the entire film is, in effect, a single onanistic fantasy, filled with desperate frustration and sensuous nostalgia.” –Amos Vogel, FILM AS A SUBVERSIVE ART “There’s no smoke without fire; *UN CHANT D’AMOUR* is a communion in which Genet takes us into the prison in order to liberate us from it.” –Derek Jarman Total running time: ca. 50 min *___________________________________________________________________* Venue type: *Live, physical event* San Francisco Cinematheque <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6016c508b8&e=857b71a9cb> 7:30pm PT, GRAY AREA / GRAND THEATER, 2665 Mission Street, San Francisco, CA *Maya Deren: Choreographed for Camera* Deren Biographer Mark Alice Durant in person. On the occasion of the publication of *Maya Deren: Choreographed for Camera* (2022; St. Lucy Books) San Francisco Cinematheque and Gray Area welcome Deren biographer Mark Alice Durant who will appear in person to discuss this book and present three films by Deren: *Meshes of the Afternoon* (1943), *At Land* (1944) and *Ritual in Transfigured Time* (1946). She is sealed behind glass. Her fingertips press lightly on the transparent surface as if to confirm the barrier between the interior and exterior. The window is a medium of dueling functions—reflecting and transmitting. She looks out at the world full of things and people, but is aware of herself as an image, as the camera sees her. She is appearing in a film she is making with her husband, Sasha. They call it a “home movie.” (Mark Alice Durant; from the prologue to *Maya Deren: Choreographed for Camera*) Ukrainian-born Eleanora Derenkowsky—better known as Maya Deren (1917–1961)—is one of the most influential figures in American avant-garde cinema. *Her Meshes of the Afternoon* (1943)—with its circling semi-narrative and its groundbreaking use of creative cinematography and dreamlike associative montage—remaining to this day, infinitely new, deeply inspiring and prescient in its subtly defiant feminism and disdain for domesticity while works such as *At Land* (1944) and *A Study in Choreography for Camera* (1945) are enduringly shocking in their use of creative geography and motion. Proclaimed by filmmaker Stan Brakhage as “the mother of us all,” Deren was also a fierce advocate for personal cinema, composing the visionary theoretical text *An Anagram of Ideas on Art, Form and Film* in 1946 and presenting underground screenings in New York City which set the model for today’s network of independent microcinemas and film festivals. With a life story saturated with mystery, self-mythology, bohemian intrigue and spiritual questing, Deren’s fascinating tale is told in Mark Alice Durant’s *Maya Deren: Choreographed for Camera* (2022) an engrossingly impressionistic biography of the enigmatic artist, discussing at length her passions for filmmaking and dance and her deep personal experience with the spirituality and ritual of Haitian Vodou. This special screening/reading will include author Mark Alice Durant reading excerpts from the book, with screenings in 16mm of *Meshes of the Afternoon* (1943), *At Land* (1944) and *Ritual in Transfigured Time* (1946). (Steve Polta) Drawing from a treasure trove of archival materials, Durant gives a vivid account of the swath Maya Deren cut through the modernist century. Durant’s gorgeous writing captures how, in Deren’s hands, cinema is a devotion to life itself. (Laura U. Marks) Copies of *Maya Deren: Choreographed for Camera* will be available for purchase at this screening and are also available in Cinematheque’s online bookstore. *MONDAY, JUNE 19, 2023* Venue type: *Live, physical event* Butosfera <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c8972eab40&e=857b71a9cb> 19:00 GMT+2, Narbutta 46/48 lok.51 Warsaw Poland *Edge of Presence with Hiroko Komiya and Chris H. Lynn* Silent images on the screen A Dancer pauses sounds and notes linger on the edge of presence Super 8 film: Chris H.Lynn (US) Field recordings, sounds, objects, music: Chris H.Lynn (US) & Hiroko Komiya (JP) Guest dancer; Atsushi Takenouchi ( JP) Ola Capiga-Łochowicz (PL) Guest musician; Krzysiek Łochowicz (PL) Chris H.Lynn and Hiroko Komiya started collaborating in the spring of 2021. The released digital album “Oto no Yukue“ in Feb 2022, with extracting the instant sound of each land, exchanging like a sound letter, and creating new compositions from the explorations. It became a sketchbook-like album of sounds with seasonal changes, elements of nature, and some distant memories. They also have ongoing projects between here and there, simultaneous recording, sound journal, speaking voice, and audiovisual live performance. Chris H. Lynn is a filmmaker, sound artist, educator, and curator from the United States. His digital images and Super 8 films explore the subtle rhythms of movement, light, and sound in urban and rural landscapes that vary from the Eastern shores of Maryland, U.S. to Nanjing, China. His work has been shown at the Librairie Avant-Garde, Nanjing, China, UNZALAB in Milan, Italy, American Film Institute (AFI) in Silver Spring, Md, Festival Internacional del Nuevo Cine Latinamericano Habana, Cuba, Goethe Institut, Washington D.C., The Anthology Film Archives, NYC, and a variety of venues internationally. His work was featured in the book *Cinema and the Audiovisual Imagination* by Robert Robertson. His sound works have been published on Impulsive Habitat, Verz Imprint, Green Field Recordings, KandalaRecords, Plus Timbre and echOmusic and have appeared on radio programs worldwide. Hiroko Komiya plays object sounds; stone, water, seashell, toys, etc. and percussion, zither, shrutibox, voice. Inspired by the air, space, movements, inner body, memory, she expresses the sound without bound melody or rhythm. Since 1999, she accompanies Atsushi Takenouchi's JINEN Butoh as a musician, all his works and live performances are created and played by her live music. Apart from dance, she collaborates with filmmakers, sculptors, painters, poets, story tellers, costume designers, various artists for exhibition, installation, etc. Released first solo album “Eau Nouvelle” ( sometimeStudio, France 2009 ) Released Butoh performance music album " Pendulum Sea" ( SBENG! Dischi, Italy 2017) Also released 2 albums in collaboration with French experimental band LENA CIRCUS ( 2008, 2011) *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=495a5f07aa&e=857b71a9cb> 7:15pm ET, 32 Second Avenue, New York, NY *EC: ERNIE GEHR* “Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, *SERENE VELOCITY* (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5 Brand new prints! *REVERBERATION* (1969, 23 min, 16mm) *SERENE VELOCITY* (1970, 23 min, 16mm, silent) *STILL* (1971, 54 min, 16mm. Preserved by Anthology Film Archives) Total running time: ca. 105 min *WEDNESDAY, JUNE 21, 2023* Venue type: *Live, physical event* VISIONS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7d467f782b&e=857b71a9cb> 7pm & 9pm ET, La lumière collective 7080, rue Alexandra, #506, Montréal [QC], Canada *VISIONS: AARON ZEGHERS* In collaboration with Hors champ, VISIONS presents a double programme with AARON ZEGHERS. 16mm and digital projection. Filmmaker in attendance. “The other thing that I think is really important that I really wanna make films about are just…people. I don’t need to watch another fucking movie about Diego Maradona or like some famous asshole that’s getting a film made about them because they’re rich. I don’t wanna watch those kinda movies anymore” – Aaron Zeghers PROGRAMME 1: 19h >>> CONFESSIONAL CINEMA SHORT FILMS PROGRAMME 2: 21h >>> *DANNY* by AARON ZEGHERS and LEWIS BENNETT *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=87ea6dc353&e=857b71a9cb> 6:45pm ET, 32 Second Avenue, New York, NY *EC: EGGELING / GRANT / JACOBS & FLEISCHNER* Viking Eggeling *SYMPHONIE DIAGONALE* (1924, 8 min, 35mm) “This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS Dwinell Grant *COMPOSITION #2 CONTRATHEMIS* (1941, 5 min, 16mm, silent) “An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant Dwinell Grant *STOP MOTION TESTS* (1942, 3 min, 16mm, silent) A pixillated self-portrait of the filmmaker in his studio. Dwinell Grant *COLOR SEQUENCE* (1943, 3 min, 16mm, silent) “Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz Ken Jacobs & Bob Fleischner *BLONDE COBRA* 1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation. “[...] an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs Total running time: ca. 60 min *___________________________________________________________________* Venue type: *Live, physical event* Films with Friends <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e7e9fa080a&e=857b71a9cb> 8pm PT, kerouac Alley 850 Columbus Ave North Beach, San Francisco, CA *Urban Landscapes* *Notes on the Port of St. Francis* by Frank Stauffacher *Pussies from Outer Space* by Nancy Gaglio *In the Course of Human Events* by Dominic Angerame *Philly Streets March 2023* by Mai Lewis *THURSDAY, JUNE 22, 2023* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8098c15821&e=857b71a9cb> 6:30pm ET, 32 Second Avenue, New York, NY *EC: JEROME HILL* These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art. *DEATH IN THE FORENOON* (1934/66, 2 min, 35mm) *CANARIES* (1969, 4 min, 35mm) *FILM PORTRAIT* (1971, 81 min, 35mm) “*FILM PORTRAIT* is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] *FILM PORTRAIT* is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s *WALDEN*, which is diary but not autobiography in a strict sense. We have Cocteau’s *BLOOD OF A POET*, *ORPHEUS*, and *TESTAMENT OF ORPHEUS*. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s *FILM PORTRAIT* is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s *TESTAMENT* and my own *SINCERITY & DUPLICITY* series of autobiographical films were very much inspired by Jerome’s *FILM PORTRAIT* as well as by Jonas’s *WALDEN*. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END Total running time: ca. 90 min *___________________________________________________________________* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c0df1a9a44&e=857b71a9cb> 8:45pm ET, 32 Second Avenue, New York, NY *EC: HUGO / JACOBS / LEVITT / MAAS* Ian Hugo *BELLS OF ATLANTIS* (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin’s HOUSE OF INCEST, narrated by and featuring Nin. “[...] inspired by the prologue to my HOUSE OF INCEST and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin Ken Jacobs *LITTLE STABS AT HAPPINESS* (1959-63, 18 min, 16mm. With Jack Smith.) “Material was cut in as it came out of the camera, embarrassing moments intact. 100’ rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.” –Ken Jacobs Helen Levitt, Janice Loeb, and James Agee *IN THE STREET* (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) “Informality is indeed the crucial and virtually definitive quality of *IN THE STREET*; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA Willard Maas *GEOGRAPHY OF THE BODY* (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.) “The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas Total running time: ca. 55 min *FRIDAY, JUNE 23, 2023* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=91962231cf&e=857b71a9cb> 7pm ET, 32 Second Avenue, New York, NY *EC: TOM, TOM, THE PIPER’S SON* by Ken Jacobs, 1969, 115 min, 16mm, b&w/color, silent “Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs *SATURDAY, JUNE 24, 2023* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=15de5e6b65&e=857b71a9cb> 5:45pm ET, 32 Second Avenue, New York, NY *EC: LAWRENCE JORDAN* *DUO CONCERTANTES* (1962-64, 6 min, 16mm, b&w) *HAMFAT ASAR* (1965, 13 min, 16mm, b&w) *GYMNOPEDIES* (1968, 6 min, 16mm) *THE OLD HOUSE, PASSING* (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.) *OUR LADY OF THE SPHERE* (1968, 9 min, 35mm) “With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.” –Jackie Leger Total running time: ca. 85 min *___________________________________________________________________* Venue type: *Live, physical event* Fracto e.V. <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=567209b208&e=857b71a9cb> 17:00 - 24:00 GMT +2 ACUD Kunsthaus, Veteranenstraße 21, Berlin Mitte, Berlin, Germany *Fracto get-together* Fracto is thrilled to host a get-together and an all analog screening on JUNE 24 at ACUD Kunsthaus in collaboration with Labor Neunzehn and Conversas Berlin. In connection with our crowdfunding campaign, we are showcasing a number of activities to remind you what Fracto Experimental Film Encounter is about and how much it means to us. We are inviting all filmmakers, habitué, and friends to join us for a breezy evening event with film screenings, talks, music, and refreshments open-air. --- 17:00 Opening --- In the backyard, we will have an independent publishing stand that will show and explore the imaginary border between visual art, moving image, science, experimental music. A selection of books and printed objects curated by Labor Neunzehn. --- 18:00 Conversas Berlin --- Conversas will be hosting its 54th meet-up presenting three guest speakers. Conversas is a series of informal meetings made so that we can get to know and discuss projects and interests. It has been around since 2016 and we have organised more than 50 events so far. --- 20:00 Refreshments --- --- 21:00 SPINNING MARVEL --- Fracto presents an all analog screening curated by Giuseppe Boccassini. A program on classic found footage film focusing on the essential quality of seeing. An experience that places the viewer on the threshold between the vertiginous disposition to film perceived as an act of exteriority, nonhuman attraction, autonomous force, and the intellectual wonder in observing its mechanism. Al Razutis *LUMIERE'S TRAIN VISUAL ESSAYS N°1 *Canada, 1979, 7' 30, 16mm, sound David Rimmer *BRICOLAGE *Canada, 1985, 10' 00, 16mm, sound Malcolm Le Grice* BERLIN HORSE *UK, 1970, 9' 00, 16mm, sound Chris Gallagher *MIRAGE* Canada, 1983, 7' 00, 16mm, sound David Rimmer *VARIATIONS ON A CELLOPHANE WRAPPER *Canada, 1970, 8' 00, 16mm, sound --- 22:00 Afterparty with music and drinks --- You will also have the chance to donate directly to our crowdfunding initiative to fund the 7th edition of Fracto Experimental Film Encounter taking place in November 2023. *___________________________________________________________________* Venue type: *Live, physical event* Interbay Cinema Society <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2bb65d42f6&e=857b71a9cb> 8 pm PT, 1515 12th Avenue, Seattle, WA *Our, Us, Enough: Films on Labor, Love and Intimacy* In celebration of and in solidarity with Pride Weekend in Seattle, Interbay Cinema Society commissioned Carleen Maur to curate a program of experimental works on film that speak to LGBTQ+ experiences. All works will be screened on 16mm film. Co-sponsored by Northwest Film Forum. *Dyketactics *(Barbara Hammer, 4 min, on 16mm) A popular lesbian “commercial,” 110 images of sensual touching montages in A, B, C, D rolls of “kinaesthetic” editing. “The images are varied and very quickly presented in the early part of the film, introducing the characters, if you will. The second half of the film slows down measurably and all of a sudden I found myself holding my breath as I watched the images of love-making sensually and artistically captured.” – Elizabeth Lay, Plexus *Solitary Acts #5 *(Nazlı Dinçel, 2015, 5 min, on 16mm) The filmmaker films themselves practice kissing with a mirror. They recall teenage memories of overconsumption, confusing oral fixations (kissing and eating). They end up eating the carrot they are masturbating with, and they feel a sense of cannibalism. The components of the background of the scene are broken down and filmed in extreme closeups. These wave and play with one another; when text over-consumes the image, it transforms into the backdrop fabric where the filmmaker physically attaches the film together with fishing line. *RUN! - MYTHOGRAPHY #1 *(Malic Amalya, 2020, 10 min, on 16mm with optical sound) Shot at sites of nuclear development, detonation, industry, tourism, and activism, RUN! examines the ways that the ideologies of war structure landscapes, community rituals, cinematic technology, entomology, pandemic management, and even notions of LGBTQ liberation. *Lesbian Farmer *(Carleen Maur, 2020, 2 min, on 16mm) A brief meditation on coyotes, strained relationships and conservative talk radio. *The House These Words Built *(Gabby Follett Sumney in collaboration with Jessica Sumney, 2018, 3 min, on 16mm) To my wife: All the poetry and time apart was really worth it for this life together. *Range *(Bill Basquin, 2005, 8 min, on 16mm) Against a visual tapestry of rural horizons, agricultural machinery, and newborn lambs, a father discusses with his transgender son his relationship with the land, animals, and labor that make up his farm. *Pride™ *(Hogan Seidel, 2019, 5 min, on 16mm) An experimental documentary about the changing environment surrounding LGBTQIA+ Pride festivals. *Encounters I May or May Not Have Had With Peter Berlin *(Mariah Garnett, 14 min, on 16mm) [...] deals primarily with monumentality, narcissism, and the ways in which our heroes are embedded into our identities and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization, and actual touchdown with ’70s gay sex icon Peter Berlin himself, capturing both the apparent and the hidden. The film guides the viewer through the process of making contact with a figure who exists only in his own photographs. The film culminates in an interview with Peter Berlin in his apartment, describing a moment of exchange that crosses lines of gender and generation, a moment where the identities of the two filmmakers briefly coalesce *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dda487600d&e=857b71a9cb> streaming 24/7 *THE LONG CONVERSATION* THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite hold. But... all episodes from the last year and a half are streaming!!! *___________________________________________________________________* Venue type: *Virtual, online event* 6x6 Project <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e362ef4616&e=857b71a9cb> streaming 24/7 *Artists' Moving Image Works* 6x6 project is an online artists' community that serves as a platform for disseminating artists' moving image works, and to create an ever-growing network among peers. There are now more than four hundred artists’ film and moving image works available to view on the website. ------------------------------ *Let us know about your alternative film/video event!* Enter your event announcements by going to the Flicker Weekly Listing Form <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=afe96aa08c&e=857b71a9cb> . 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